Pavel Seldemirov
Artist Stamement
Ontological machines, affective induction machines, existential gym and other features of Pavel Seldemirov's work.

I am an artist, researcher, and traveler for whom creativity is inseparable from the effort of self-determination and transformation through contact with the other. My path in art continues the passion for exploration and the desire to discover new horizons of experience. As in the research process, in my creative work I strive to undergo a "phenomenological reduction of the world" - to question the habitual supports of perception and thought, to allow new data to transform my view of reality.


I was born in 1988 in the USSR, in a disadvantaged area of Volgograd. The experience of growing up in an atmosphere of instability and violence became an existential matrix that determined my way of relating to the world and my art. The need to constantly adapt to unpredictable circumstances formed an impulse for navigation in unfamiliar terrain, for self-determination through encountering the unknown, which I retained even after leaving Volgograd. This idea of processual ethics as the art of meaningful drift in a shifting social landscape resonates with my own trajectory - the effort of finding oneself through contact with the other.

On Medium and Creative Method:

In my work, I engage with various media - from interactive installations to VR projects, creating immersive environments that involve the viewer in the exploration of alternative modes of perception and existence. Works such as "Storm Cloud" (2018), "IfRO&D" (2019), "The Becoming" (2020), become "machines of affective induction," generating new states of consciousness and body through the transformation of habitual coordinates.

My artistic method is "ontological mapping," an attempt to use the means of art to convey the experience of a processual, relational, multidimensional reality. In my projects, by deconstructing established schemes of world perception through narrative fragmentation, fluidity of images, indistinguishability of the virtual and the real, I release new modes of relating to reality. Art becomes an active agent of ontological transformation, changing the very parameters of perception and understanding of the world.

A special place is occupied by the interactive installation IfRO&D - a "necessary effort simulator," where the viewer experientially comprehends the dialectic of freedom and conditionality, learns to act within the ineliminable involvement in the dynamics of the world.

On Philosophical Foundations:

The conceptual core of my work is the idea of "necessary effort," affirming the ontological ineliminability of the human effort of self-determination and the ethical responsibility arising from it. To become aware of our always-already-involvement in the dynamics of the world, to accept it as a space of freedom and responsibility, means to open up a new dimension of human existence.

Another important reference point is the ontological understanding of ethics by Spinoza and Deleuze as an immanent plane of composition of forces and affects, a space of mutual positing of subject and world. My works explore "ontological machines" - assemblages of elements that generate regimes of subjectivity and sociality, becoming a way of critical reflection and creative transformation of these machines.

On Artistic Vision:

For me, being an artist means questioning the established frameworks of the possible, pushing the horizons of the thinkable and the sensible, cultivating attentiveness to the processuality of being. By immersing the viewer in immersive environments, depriving them of familiar supports, I invite them to share the experience of existential openness and vulnerability in the face of the radically other.

My projects are permeated with the motif of the fragility of human existence in the face of unpredictable forces. These are deeply personal statements rooted in the experience of loss, trauma, and the search for support. Art becomes for me a way to find a new wholeness through embracing one's incompleteness, a form of "self-invention" despite destructive circumstances.

The central question of my work is how to build relationships with the world and others, avoiding destructive processes, resisting entropy, without falling into the illusion of control over reality? My works are experimental testing grounds where, through aesthetic experience, a transformation of the viewer's ethical coordinates takes place. They possess an emancipatory potential, creating conditions for the birth of new forms of subjectivity and sociality.